Master of Music (MM) and Doctor of Musical Arts (DMA)

Applicants to the conducting program must contact the listed faculty member to make special arrangements for their auditions.

Choral Conducting

Candidates for the graduate program in Choral Conducting must submit the following:

• A CV
• A personal statement that includes:
  • Background in music
  • Description of piano and vocal training and
  • Goals after finishing the degree.
• Links to high-quality video (and audio) of one performance (no longer than 10 minutes) and one rehearsal (no longer than 15 minutes) conducted by the applicant. If possible, the view should be from behind the ensemble facing the conductor.

Choral Conducting Contact

Brandon Williams

Director of Choral Activities
Associate Professor, Conducting

Music

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Wind Band Conducting

Candidates for the graduate program in wind band conducting must submit these additional items:

• A video of no more than 15 minutes in length that includes both rehearsal and performance conducting. The view should be from behind the ensemble viewing the conductor.
• A repertoire list of compositions conducted since attaining your undergraduate degree
• A repertoire list of the 25 most artistically significant pieces for wind band from your perspective

Wind Band Conducting Contact

Todd Nichols

Director of University Bands and Athletic Bands; Associate Professor, Conducting

Music
Community Arts

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Orchestral Conducting

Candidates for the graduate program in Orchestral Conducting must submit the following:

• A video of no more than 15 minutes in length that includes both rehearsal and performance conducting. The view should be from behind the ensemble viewing the conductor
• A video of the applicant playing their instrument or a composition
• An updated CV
• A repertoire list of works conducted publicly, with relative ensembles
• An essay detailing why you want to study conducting and what you feel you have to offer the profession

Orchestral Conducting Contact

Ching-Chun Lai

Director of Orchestral Activities and Engagement, Associate Professor

Music

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Master of Music (MM), Doctor of Musical Arts (DMA), and Artist Diploma (AD)

• Bach/Grandjany etude
• Two contrasting solos
• Two movements from one of the following:
  • Major concerto
  • Debussy “Danses”
  • Ravel “Introduction and Allegro”
• Two major orchestral excerpts and one cadenza that reflects the applicants proficiency

Questions concerning jazz auditions should be directed to Professor Marc Stasio, Coordinator of Jazz Studies, at marc.stasio@rutgers.edu.

**Jazz applicants are highly encouraged to complete a live on-campus audition. Jazz applicants who wish to submit a recorded audition must request approval by emailing Professor Marc Stasio, Coordinator of Jazz Studies, at marc.stasio@rutgers.edu before submitting their recording.

Audition Requirements All Instruments (except Drum Set):

Prepare two contrasting selections from standard jazz repertoire (see below). Perform the tune head and one or two choruses of improvisation.

• Bass (in addition to the above)
  • Upright or Electric bassists are welcome to apply.
  • Prepare to demonstrate walking jazz bass lines.
• Piano and Guitar (in addition to the above)
  • Prepare to demonstrate chordal comping behind another soloist.
• Lead Trumpet Specialists (in addition to the above)
  • Test lead playing skills; read a lead chart.

In addition to the above also prepare to be evaluated on the following:

• THEORY: Major/Minor modal scales, two octaves preferred
• AURAL SKILLS: Identify piano chord qualities as played by faculty.
• SIGHT READING: Lead sheet, exercise, or band arrangement excerpt as supplied

Drum Set (supersedes above requirements)

• Prepare two contrasting selections from standard jazz repertoire (see below) to perform with the live bassist and pianist/guitarist. Outline melodic contours while keeping time.
• Perform the following solo time feels: Swing in 4/4, and 3/4 (slow, medium, and up-tempo, with sticks and brushes), Bossa Nova, Samba, and Shuffle.
• Interchange time feels with solos as requested, such as: 4 bars time/4 bars solo, 8 bars time/8 bars solo, etc.
• Prepare to sight-read charts and/or lead sheets.

Standard Jazz Repertoire Suggestions

Accompaniment requirements and equipment provided:

• Piano/Guitar, Bass and Drum accompanists are provided in audition rooms.
• Pre-recorded backing tracks are not permitted for on campus live auditions.
• Please bring copies of music for the live accompanists.
• A piano and drum set with cymbals will be available in audition rooms.
• Drummers are asked to bring their own sticks/brushes.
• Guitar and bass amplifiers are supplied in audition rooms. Please bring your own patch cable. We cannot supply instruments, audio patch cables, or replacement strings.
• Approved recorded audition submissions may use pre-recorded backing tracks or live accompanists as desired.

Master of Music (MM)

Applicants to the Master of Music in Music Education program should have the following qualifications:

• Bachelor’s degree in music education (or equivalent) with a minimum GPA of 3.0
• At least one full year of full-time K-12 music teaching experience (3+ years of part-time experience may be considered)
• Certification/teaching license in music education

In addition to the Rutgers University application as outlined above, MM Music Education applicants should submit the following through the Mason Gross Talent Assessment:

• PDF of current music education teaching certification/license from any state or country
• Three current letters of recommendation, which should address academic potential, teaching skills, musicianship, and character
• A 5-minute uninterrupted video (with clear audio) of you teaching one of your current classes (no private/studio lessons). The camera should focus on you, but it is fine if students are also in the footage. Your video should be recorded within the last six months.
• Professional resume (1-2 pages)
• One-to-two-page Statement of Purpose, which demonstrates your best writing and articulates your reasons for applying to the Rutgers MM in Music Education

Finalists may be requested to interview with music education faculty. Other requirements (e.g., audition for performance or ensembles, etc.) will depend on the choice of elective or performance area, which does not have to be made at the time of admission.

Doctor of Musical Arts (DMA)

Applicants for the Doctor of Musical Arts in Music Education program should have the following qualifications:

• Bachelor’s and master’s degrees in music education or equivalent (minimum undergraduate GPA, 3.0; minimum graduate GPA, 3.25)
• At least three years of full-time K-12 music teaching experience

In addition to the Rutgers University application as outlined above, DMA Music Education applicants should submit the following through the Mason Gross Talent Assessment:

• Three current letters of recommendation, which should address academic potential, teaching skills, musicianship, and character, One letter must be from a graduate faculty member who can address your skills or potential as a scholarly writer.
• Professional resume (1-2 pages)
• Evidence of scholarly writing proficiency (for example, a master’s-level course paper or thesis)
• One-to-three-page Statement of Purpose, which demonstrates your best writing and articulates your scholarly, professional, personal goals in pursuing your doctorate

Finalists will be required to interview with music education faculty. Other requirements (e.g., audition for performance cognate, ensembles, etc.) will depend on the choice of elective or cognate area, which does not have to be made at the time of admission.

For all questions concerning the percussion auditions and/or repertoire, please contact Head of Percussion, Professor Joseph Tompkins, at jtompkins@mgsa.rutgers.edu.

Master of Music (MM), Doctor of Musical Arts (DMA), and Artist Diploma (AD)

Snare Drum

• Three orchestral excerpts
• One Delecluse etude

Timpani

• Three orchestral excerpts
• Hochrainer etude or comparable

Xylophone

• Three orchestral excerpts
• One solo piece

Glockenspiel

• Three orchestral pieces

Marimba

• Perform two pieces in contrasting styles (Examples: one piece could be by J.S. Bach, and the other could be a contemporary piece; or two contemporary pieces but in two different composition styles)

For all questions concerning the piano auditions and/or repertoire, please contact Min Kwon, Professor and Head of Piano at mkkwon@mgsa.rutgers.edu.

For applicants auditioning by recording, all videos must show a clear view of the applicant’s hands. The video does not need to be “professional quality” but should clearly and accurately represent the applicant. While pieces or movements may be included from different settings/performances, each individual piece or movement should be unedited and should not contain any professional effects.

Master of Music applicants must offer a program of at least 45 minutes, satisfying all four of the categories below. Memorization is required except for works composed after 1945.

Doctor of Musical Arts and Artist Diploma applicants must offer a program of at least 60 minutes, satisfying all four of the categories below.  Memorization is required except for works composed after 1945.

The repertoire presented must include:

• A Prelude and Fugue by J.S. Bach or another work by Bach containing a fugue
• A complete sonata by Haydn, Mozart, Beethoven, or Schubert
• A substantial work from a significant Romantic Era composer
• A work by a 20th- or 21st-century composer that illustrates post-Romantic compositional techniques and is not shorter than five minutes in duration
• A substantial work or a selection of pieces by underrepresented composers is highly recommended and welcome
•  

For all questions concerning the strings auditions and/or repertoire, please contact Head of Strings, Professor Jonathan Spitz, at jspitz@mgsa.rutgers.edu.

Note: String applicants are not required to perform with accompaniment but are requested not to perform with pre recorded accompaniment.

Master of Music (MM), Artist Diploma (AD), and Doctor of Musical Arts (DMA)

Violin

• Approximately 8-10 minutes from a standard concerto, displaying more than one movement
  and a cadenza, if applicable
  • Examples: Beethoven, Brahms, Tchaikovsky, Sibelius, Shostakovich or Prokofiev
• Two movements of an unaccompanied Sonata or Partita by J.S. Bach, or only the Chaconne from Partita No. 2
• A Caprice by Paganini or a movement from the solo Sonatas by Ysäye

Viola

• Approximately 8-10 minutes from a standard concerto
• Two movements from the unaccompanied works of Bach (originally for cello or violin)
• A contrasting work or excerpt of the applicant’s choice: either a contemporary work, a movement from a sonata, or a piece to display the applicant’s technical virtuosity

Cello

• Approximately 8-10 minutes from a standard concerto, displaying more than one movement and a cadenza, if applicable
  • Examples: Haydn’s Cello Concerto No. 2 in D major, Dvorak, Schumann, Elgar, Shostakovich, Tchaikovsky’s Rococo Variations, or Bloch’s Schelomo
• Two movements, including a prelude, from an unaccompanied Suite by J.S. Bach
• A contrasting work or excerpt of the applicant’s choice: either a contemporary work, a movement from a sonata, or a piece to display the applicant’s technical virtuosity

Double Bass

• Approximately 8-10 minutes of a concerto or comparable work from the standard double bass repertoire displaying more than one movement and a cadenza, if applicable
• Two orchestral excerpts from the standard orchestral repertoire
• Two movements of a suite by J.S.Bach, originally for cello, in any key

For all questions concerning the voice auditions and/or repertoire, please contact Head of Voice, Professor Eduardo Chama, at echama@mgsa.rutgers.edu.

All graduate applicants will be required to submit pre-recorded pre-screening videos. Please refer to your degree for the repertoire requirements below.

If invited to a live audition we will be offering two audition choices for all the applicants: a live audition on campus or a video pre-recorded audition

All video recordings should be performed by memory and should include the full body of the singer. Piano or orchestral accompaniment is required, except in the rare instance where the selection is designed as an a cappella piece. There should be no selection offered as a cappella that has a designed accompaniment.

If live accompaniment is not possible, applicants may use Appcompanist or another remote accompanist application. The video should be filmed in landscape mode (horizontal aspect ratio) and should show the full body of the singer and the accompanist if possible. The use of headphones is permitted. The use of all sound enhancement effects is prohibited. This includes reverberation effect, pitch correction, or any kind of post editing cut-and-paste. Lighting and balance fixing is permitted.

Due to our efforts to promote inclusivity in the vocal area, we encourage you to consider selecting a piece written by an underrepresented composer (composer of color, female composer, or other underrepresented group). This piece should also be in a classical style, inclusive of spirituals. You will not be penalized if this is not possible for your audition.

All Voice Graduate Applicants

Application Timeline

Rutgers University Graduate School Application: December 1
Mason Gross Supplemental Application & Pre-screening Video: December 15

Finalists will be notified by January 15. Finalists auditioning in person will be scheduled for February 4 or February 18. Finalists auditioning via recording will be sent instructions on how to submit by no later than February 15.

MM, AD with concentration in Opera degree

For both the prescreening AND final auditions one aria must be from the 20th or 21st century. Repertoire should represent different style periods, moods, and tempi. Musical theater selections are not acceptable. All selections must be memorized.

Prescreening: submitted with the supplemental application by December 15
Three opera arias required:

• One opera aria in Italian
• One opera aria in English
• One opera aria in any other language

Final Audition: for finalists invited to second round either live on campus or recorded
Five opera arias required:

• One aria in Italian
• One aria in German
• One aria in French
• One aria in English
• One aria in any language

MM, AD and DMA in Voice Performance degree

For the prescreening AND the final audition – Italian, French, German and English languages must be represented. One selection must be from the 20th or 21st century, preferably composed after 1950. Repertoire should represent different style periods, moods, and tempi. Musical theater selections are not acceptable. All selections must be memorized.

Prescreening: submitted with the supplemental application by December 15
Five selections required:

• One opera aria
• One oratorio aria
• One German lied
• One French mélody
• One English language art song 

Master of Music Voice Performance degree

Final Audition: for finalists invited to second round either live on campus or recorded
Five selections required:

• One opera aria
• One oratorio aria
• One German lied
• One French mélody
• One English language art song 

Doctor of Musical Arts (DMA) and Artist Diploma (AD) Voice Performance degree

Final Audition: for finalists invited to second round either live on campus or recorded
Seven selections required:

• One opera aria 
• One oratorio aria
• Two German lieder
• Two French mélodie
• One English language art song

For all questions concerning the woodwind auditions and/or repertoire, please contact Head of Woodwinds, Professor Maureen Hurd, at mlhurd@mgsa.rutgers.edu.

Applicants are encouraged to select a work by a composer from an under-represented group. Online resources to aid students in selecting this repertoire follow:

• Music by Black Composers
• Institute for Composer Diversity

Master of Music (MM), Doctor of Musical Arts (DMA), and Artist Diploma (AD)

Bassoon

• A Milde concert study or an etude from Weissenborn’s Fifty Advanced Studies
• At least two movements (one slow, one fast) from a sonata, concerto, or similar work, preferably from the Baroque or Classical period
• Graduate bassoon applicants are encouraged to include a movement of a piece by a composer of an underrepresented group. A list of suggested works follows, but applicants are not limited to this list and should contact Prof. Mark Timmerman at mt993@mgsa.rutgers.edu and/or Prof. Roger Nye at rn210@mgsa.rutgers.edu in advance to discuss other possible repertoire.
  • Jenni Brandon: Colored Stones
  • Nancy Galbraith: Sonata for Bassoon and Piano
  • William Grant Still: Songs for Bassoon and Piano
  • Adolphus Hailstork: Bassoon Set
  • Ulysses Kay: Sonata for Bassoon and Piano
  • José Siqueira: Drei Etuden (Three Etudes) for Bassoon and Piano
  • Jacqueline Wilson Dance Suite for Solo Bassoon
  • Two orchestral excerpts selected from the following list:
    • Stravinsky, The Rite of Spring: Opening solo through figure 4.
    • Tchaikovsky, Symphony No. 4, Movement 2: Solo at the end through last bar
    • Rimsky-Korsakov, Scheherazade, Movement 2: Solo m. 5 through Figure A and cadenzas Figure L-Figure M
    • Mozart, Marriage of Figaro, Overture: Measures 139 to152
    • Berlioz, Symphonie fantastique, Movement 4: Figure 52-Figure 53
    • Berlioz, Symphonie fantastique, Movement 5: Figure 63 to 5 measures after 64

  Clarinet

  • Two contrasting works or selected movements from the standard concerto, sonata, or similar repertoire
  • One additional work or selected movement(s) composed after 1970. Applicants are encouraged to select a work by a composer from an under-represented group.
  • Three contrasting orchestral excerpts

  Applicants are encouraged to include in their audition repertoire a work by a composer from an underrepresented group. Some online resources to aid students in selecting this repertoire are listed at the top of the woodwind repertoire page and another resource is linked here from Groth Music.

  Flute

  • Expositions of either Mozart concerto, movements 1 and 2
  • A movement of a work by Bach OR an etude at the level of the Karg-Elert’s 30 Caprices
  • An additional piece, at the level of the Dutilleux Sonatine; or one movement of a larger work, at the level of the Prokofiev Sonata or the Ibert Concerto
  • Two orchestral excerpts: one lyrical and one technical

  Oboe

  • Two contrasting etudes from Barret or Ferling
  • Two contrasting movements of a sonata or concerto (one must be from the Baroque or Classical era)
  • Three contrasting orchestral excerpts

  Graduate Classical Saxophone

  In all instances, it is acceptable for applicants to propose repertoire other than what is listed below. If an applicant would like to perform alternate repertoire, they should contact Paul Cohen directly to consult with him about this.

  Alto Saxophone (Classical)

  • One prepared etude from either Karg-Elert’s 25 Caprices or Voxman’s Selected Studies
  • One complete work (all movements) plus two movements from another work, chosen from among the following:
    • Creston Sonata
    • Heiden Sonata
    • Bozza Improvisation et Caprice
    • Glazunov Concerto
    • Ibert Concertino
    • Dahl Concerto

  Tenor Saxophone (Classical)

  • One complete work (all movements) plus two movements from another work, chosen from among the following:
    • Tuthill Concerto
    • Villa-Lobos Fantasia
    • Ward Concerto
    • Ewazen Sonata
    • Gould Concerto

  Soprano Saxophone (Classical)

  • Two complete works (all movements) from among the following:
    • Lunde Sonata
    • Lamb Sonata
    • Villa-Lobos Fantasia
    • Steve Cohen Sonata
    • Sibbing Sonata
    • Gates Incantation and Ritual